Little of the vast literature on Albert Camus has been devoted to his ideas of Europe. Existing material is either biographical criticism or portrays Camus as pioneer and visionary of modem-day European integration. Though useful, these interpretations do not do justice to the complex plurality of Europe in Camus's ceuvre, which appears in several of his works. It is depicted in differing and intriguing ways, for example as a sombre, divided continent of despair (in the fictional works) or as an aspiration towards European unity as a means of preventing future war (in the political journalism). This thesis examines these manifestations with three aims. The first is to situate Camus's political discourse of Europe (his calls for European integration and related matters) within the history of ideas of Europe, highlighting his negotiation with and adoption of Europeanist discourses. Secondly, the thesis analyses Camus's fictional inscription of an imaginary Europe of fault lines and division using a space in literature approach and a Barthesian understanding of the antithesis. Thirdly, instances of dialogue within the ceuvre between his fictional and political discourses of Europe will be examined. The epistemological grounding for this is provided by Bakhtin's theories of the novel: Europe is conceived of as a multiplicity of overlapping discourses with which Camus relates dialogically, and between whose works there exists a similar dialogue of Europe. Such an approach offers both a new way of reading Camus's treatment of Europe and, potentially, of reading the history of the idea of Europe itself.

A study of the considerable literature written around L'Etranger makes clear that its wide range of approaches and methodologies raises interesting and important questions of a theoretical nature. In the particular area of language-oriented studies, the disparity of the models proposed or presupposed and, in the case of very similar models, the notable disparity of the conclusions drawn call for further examination of the theory behind them. Most such models are seen to revolve around the role of the narrator and his relation to events recounted in the text. Unlike most linguistic models, these are performance-oriented - a fact that is seen as crucial, raising the question of the nature of a putative performance theory and its relation to models based on competence/lanpnqe. Consideration of these questions establishes the need for elaboration of the study of enonciation (or "allocution") and more particularly of the "aspect indiciel du langage" in order to elucidate time and tense in relation to performance. The method adopted, involving a detailed analysis of the prevailing models in this area (Benveniste and Weinrich), shows the binary elegance of their schemes to be misleading and at variance with numerous examples of literary usage. The proposal is made that the dlsoours/recit contrast "be regarded as belonging to the area of illocutionary forces in general and as such capable of being marked by various devices in addition to tense-forms and "shifters". A particular set of devices, the presententials, is proposed: founded on the syntactic notion of the higher S, they mark both the force and the time of utterances. A related class, the interruption sentences, is examined and expanded and, along with a third class, the commentary forms constitutes an important addition to the markers of sui-reference. Finally, a detailed inspection of L'Etranger reveals the importance of these devices in the text and, in connection with the oft-discussed "moments de narration", gives rise to a different perspective based on a clearer understanding of the relation of "le temps linguistique" and "le temps chronologique" in the novel and a more precise explanation of the role of the reader. In the light of this, various subsidiary aspects are then explained in relation to Camus's intentions and his artistic achievement in L'Etranger. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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In every short story of L'Exil et le royaume by Albert Camus exists a hierarchical system of characters composed of a protagonist and secondary characters. The six protagonists surrounded with secondary characters form another system with their destiny in the exile and their pursuit of the kingdom. This thesis attempts to analyze the composition and transformation of the six protagonists in the relation that they maintain with other characters, and bring out their different interpretations of the key themes of the six short stories in the collection: the exile and the kingdom. / For the six protagonists, the exile is materialized in the rejection, the invasion and the lack of understanding of other characters. They approach the kingdom when they succeed in building a network of relations according to their will and defending their identity against exterior interventions. With the different results they obtain, Camus presents various options and shows a certain progress and continuity in their struggle.

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